Details

Provenance

Private Collection, Europe Condition Colour: The colours in the catalogue illustration are fairly accurate, although it fails to convey the metallic quality of the gold paint. Condition: This work is in very good condition. The sheet is attached verso to the backing board in various places. There are artist's pinholes in all four corner tips and to the vertical edges. There is some slight undulation to the sheet. Very close inspection reveals a tiny crease to the extreme top left hand corner tip and a very short and fine tear to the centre right of the top hand edge. No restoration is apparent when examined under ultra violet light. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE." Catalogue Note “While Gerhard Richter radically separated his ‘figurative’ paintings from his ‘abstract’ paintings, Polke always took great care not to favour one side over the other and to let these two pictorial paradigms interpenetrate and contaminate each other” (Bernard Marcadé cited in: Exh. Cat., Grenoble, Musée de Grenoble , Sigmar Polke , 2013, p. 17).

Catalog summary

Sigmar Polke Untitled signed, dated 2003 and variously inscribed acrylic, gouache and interference colour on paper 99 by 69.3 cm. 39 by 27 1/4 in. Provenance Private Collection, Europe Condition Colour: The colours in the catalogue illustration are fairly accurate, although it fails to convey the metallic quality of the gold paint. Condition: This work is in very good condition. The sheet is attached verso to the backing board in various places. There are artist's pinholes in all four corner tips and to the vertical edges. There is some slight undulation to the sheet. Very close inspection reveals a tiny crease to the extreme top left hand corner tip and a very short and fine tear to the centre right of the top hand edge. No restoration is apparent when examined under ultra violet light. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE." Catalogue Note “While Gerhard Richter radically separated his ‘figurative’ paintings from his ‘abstract’ paintings, Polke always took great care not to favour one side over the other and to let these two pictorial paradigms interpenetrate and contaminate each other” (Bernard Marcadé cited in: Exh. Cat., Grenoble, Musée de Grenoble , Sigmar Polke , 2013, p. 17).